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The book Nino Ricardo, The face of a teacher, was written for two reasons. First, I recognized that there was a danger the Ricardo would be forgotten. Second, I was already thinking for years that I should write down my views on my teacher in relation to the flamenco and Spain. In 1984 I finally started to write. I say finally because I am not much into writing. Again there were two reasons. First, a year before the son of Nino Ricardo passed Hawai. He was also a guitarist. When I visited him in hospital and knew that I would not see him again I promised him I would write a book about his father. Secondly something inside me torced me to start writing. It took me 2 to 3 years to complete the manuscript. The book was finally Publisher during the guitar biennalle in Seville in 1990.

In the book I put everything I had been collecting and thought about over the last years relating to my teacher and my experiences in Spain. I remembered well that Ricardo once told me during a guitar class that the writer Ernest Hemingway had once told him that Ricardo and Spain were one and the same thing. I did not really understand then what he meant with that. But throughout the years he was showing me the truth in this great phrase. I also had a very strange experience during another class with my teacher. Many years later I began to understand what I had seen and lived. This convenced me and gave me the courage to finally put everything down on paper. Once I had completed the manuscript I sent it to the widow of Ricardo and of the paragraphs I most feared publishing she commented that I had put exactly into words what she had seen in him over the years but had never been able to phrase correctly. She was surprised I had noticed this without living with him for years. . These conversations with his widow and also with their daughter Conchirri convenced me there was value in publishing this book. I further added the subtitel ‘Artistic and mystical revelation of a Spanish genius’, because thinking about the famous phrase of Hemmingway I realizad that Nino Ricardo as an artist was a representative of the trae Spain, similar to what Picasso. In my book I have compared Ricardo to other great Spanish artists and also to the great German poet Friedrich Holderling. The book is therefore not just a factual biography but also tries to explain his mystical and emocional importante according the conclusions of the great Swiss psychologist Carl Gustav Jung. 
I believe that for the moment enough has been said about the subjects I have a passion for. If you have questions or would like to know more I can always answer them by e-mail.




Thanks to the latest techniques and the accesibility of electronical equipment the Foundation ‘Arte por Arte’ was able to produce 2 C.D.’s in which I play solo and where I accompany the flamenco singer Merenguito.
The first CD is named ‘Ecos del Pasado’ (Echos from the Past) and the second ‘Merenguito en Amsterdam’. Between 1982 and 1986 I made recordings with my Uher 4200 recorder. I had the recording archived till my brother told me I could put them on CD. We made a selection and put ourselves venid the computer and made a master copy. The same thing we did with the recordings I made in a local theatre of a concert with the singer Antonio Merenguito with whom I did several concerts in both Holland and Spain. 
The first 5 numbers on the sold CD I play on a guitar from the guitar builders Los sobrinos de Santos Hernándes. The guitar was built by Felix Bayón in 1969. The last 3 numbers are on a guitar of Manuel Reyes of 1983. The first 5 numbers are in the school of Nino Ricardo, the last 3 numbers have a different atmosphere. The Soleares ofl Perico el del Lunar is a compilation of falsetas he played during accompanying singers. I made a selection of the falsetas I liked best and made them into a guitar solo. Los Verdiales is a creation of myself where I used the basic tone of the Do mayor. The Tangos are inspired by the work of the guitarist Pepe Habichuela. The falsetas are a mix of his and mine. The first number ‘Nippon Sanka’ is a sort of tribute to Japan and specifically for the first part I took inspiration from Koto music. The falsetas are from Nino de Ricardo, Paco de Lucia and myself. For the Alegrias I used falsetas from myself, falsetas based on tradicional flamenco and falsetas dervied from Nino de Ricardo.

The Tarantas is for the first part purely based on Ricardo. The second part is more modern, looking at Paco de Lucia and Pepe Habichuela. The fourth number, the Bulerías, is very much in the sphere of my teacher which some of my creations added to it. Specifically where I cahnge the tone of LA mayor and continue in the basic tone for the Bulerias. The Seguiriya, is based entirely on Nino de Ricardo, I have only change the order of the falsetas. 

The C.D. ‘Flamenco en Amsterdam’ is from a concert in Amsterdam in which we were both very inspired. We did not have to change or add anything to the sound. The guitar I used is from Manuel Reyes (1987). I cose the 8 best numbers and 1 guitar solo.

Merenguito was born in Madrid in the popular neighbourhood of Vallecas. His family consisted of several artists who have influenced his interest in the flamenco art. As a child he participated in concerts of Pepe Pinto, Angelillo, La Niña de los Peines, etc. As of 1970 he began to sing in public in important flamenco clubs in Madrid. He also took part in several Concursos Nacionales and won the following prizes:

1979 Primer Premio de Cante en Casares ( Malaga ).
1980 Premio Absoluto de Baza ( Granada ).
1982 Primer Premio de Cante en Vélez Málaga con cantes abandolaos en homenaje a Juan Breva.
1983 Primer Premio de Cante por Malaqueñas organizad by the Ayuntamiento de Málaga. 
1983 Mención especial en el Concurso por Saetas organizado por el Patronato Municipal de Turismo de
1983 Primer Premio grupo Cante de Cádiz en Fuengirola ( Málaga )
1983 Finalista en el Concurso Nacional de Córdoba.
1983-84 Premio por Taranto en La Unión (Murcía).
1985 Premio por Rondeñas en La Unión (Murcía).
1987 Premio por Granaínas en La Unión (Murcía).

He further song in the no more existing Café de Silverio in Madrid, together with important artists like Rafael Romero, Enrique Orozco, Manolo Heras, Perico el del Lunar, familia Habichuela, etc., with whom he also toured nationally and internationally (Amsterdam, Antwerp, Iceland, France, Japan and others)




The foundation Arte por Arte in collobaration with the Dutch televisión has made a documentory about Don Justo and his Catedral. Don Justo is a farmer who has been devoted for the last 38 years to built a catedral in a suburb of Madrid. The catedral is approximatily 40 by 20 meters. The documentary can be requested through this website.


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